“UH HUH WE KNOW”
Music video [Gee Watts]
Fujifilm X-T4 50-140mm f/2.8, Insta360 OneRS 1-inch Edition
2024
I met Gee Watts through a mutual in the creative world here in KC. I was aware of his music and some of his story, but it wasn’t until we chatted on FaceTime that the ball started rolling. He was finishing up a mixtape at the time and wanted some visuals to compliment the music. We talked about our mentalities within the arts and enjoyed getting to know each other’s styles and stories. Because of his legacy in KC, I thought it would be a mutually beneficial project without involving any pay. “I’ll keep it simple” I thought, so that I didn’t spend too much time on something that would be free. In my head I would have people reaching out left and right after this dropped.
One ting about me though is that I can’t let things be just OK. After listening to the project for the first time, this “Uh Huh, We Know” track caught my attention for its psychedelic soundscape and smooth flow. I immediately saw black and white, vast shots in an open landscape, and frames within frames.
After a few weeks, I pitched a more refined plan to Watts, and he was very excited by it. I got to work producing the video. I landed on the Flint Hills in Kansas, and found some land that we would have freedom to roam and utilize. I picked out a lens for my dad’s camera to rent, as well as a gimbal. We got our schedules lined up and picked a date. We linked up with Made Mobb for some garments that would compliment the energy I wanted to create. It was cool to go into their backroom and see 1/1 pieces and unfinished ideas.
I started thinking about every possible scenario. We would be shooting long shots, so I got some Walkie Talkie’s for communication and long distance direction. The forecast was teetering between nice and pouring rain. 2 nights before the shoot it was pretty confidently going to rain most of the day. I shot a text to Watts, saying “if the forecast changes and we deal with rain the whole time, id still like to shoot (rain or shine like they say). It would make for some epic shots, and I am bringing supplies to have a rain-proof camera setup.” I gathered rain jackets, trash bags, and zip ties that could be put together as a means to protect the equipment.
Shoot day arrives and I’m up super early to cross t’s and dot i’s. On my way to pick up Watts, it was pouring still, and I saw cars on the side of the road that had slipped out of control. I was listening to gospel, which is something I don’t usually do, but something pushed me in that direction. An epic moment in one of the songs brought me to tears, and a few minutes later, the sun cracked through the clouds for the first time that morning. After picking up Watts, we had about an hour long drive to the shoot location, which was filled with excellent conversations and stories. By the time we got there, the rain was behind us which left the sky overcast, which was fantastic for the lighting in the shots.
Directing this was a lot of fun. Turning the flint hills into a canvas was like a playground of opportunities. We saw strange trees that we bookmarked for the end of the day, birds and other creatures that ruled this land, and a carving path through the hills that would be a loose guide for the day. It was an adventure in every sense of the word, with unknown discoveries, side quests, and a goal in mind that would not be compromised by any circumstance. 2 or 3 hours after arriving, I felt satisfied with what we had. We packed the car back up, hit the road, stopped at Braums for a burger and some downtime, and headed home.
I started playing with the footage instantly. I say play literally because I didnt have a (this is shot 1a, 4b blah blah blah). I didnt realize that the last shot we got, (the profile shot of watts rapping, and looking at the camera when he says the song title) would be the center of the piece. I also at the time didnt know that I would end up scheduling a second shoot in the city with Watts, and then a third by myself for some extra shots (only one of which I would use, but it made a big difference). If I had to guess, I put at least 40 hours into the edit. So much for keeping it simple.
Side note: yes the mix is bad. Watts said it was mastered which I had no choice but to roll with at the time, but now when I watch the video it is hard to ignore. I still think it is a cool piece of art, and a great first music video for me.
